After the Numero Group released a comprehensive look at the American Analog Set’s 1990’s recordings on the New Drifters box set, it only makes sense that they would do the same for the combo’s 2000’s output. Destroy Destroy Destroy is another beautifully packaged retrospective that gathers up the three albums they released during the decade — 2001’s Know By Heart, 2003’s Promise of Love, and 2005’s Set Free — plus two discs of stray singles, EPs, compilation appearances, and rare tracks.
The set captures the evolution of the group from a more abstract musical group dedicated to repetition, space, and subtlety to one that utilized that same basic template while applying it to songs that were more narrative and concise.
Category: *editions*
Bruce Springsteen doesn’t need to risk alienating a small but vocal fraction of his fanbase by taking a stand against what he sees as a clear and present danger to the future of America, a land he clearly loves with every fiber of his being.
But he does it anyway because that’s just how much he cares about the things that truly matter. That’s an admirable trait that Springsteen has embodied for the longest time.
And if the way the crowd responded to his most impassioned speeches taking Donald Trump to task at what appeared to be a sold-out Mortgage Matchup Center on Thursday, April 16, when the Land of Hope & Dreams American Tour hit downtown Phoenix, are any indication?
…He hadn’t even played guitar before setting…
Brown Box includes all of the duo’s studio output released between 1990 and 2007, including Twin/Tone debut album God Ween Satan: The Oneness, a run of releases on Elektra spanning 1992’s Pure Guava to 2000’s White Pepper; the outtakes collection Shinola, Vol. 1; and the band’s most recent release, 2007’s La Cucaracha. (Chocolate and Cheese uses the same 2024 remaster from the box, but it has not been confirmed if the others have received similar treatment.) All the discs are packaged in CD-size wallets; there does not appear to be a booklet or additional notes in the packshot. The albums White Pepper and 2003’s dark Quebec, long out-of-print on vinyl, will also be made available on colored vinyl: a “green pepper” LP for the former…
1. Marisa Anderson – Rop Koh
2. Ed O’Brien – Blue Morpho
3. The Sleeves – Empty Thoughts
4. Tamikrest – Imanin
5. Thomas Dollbaum – Pulverize
6. Blood Sucking Maniacs – Family Tree/Heartbeat (Lucky Marlo Allen)
7. Jeff Parker ETA IVtet – Like Swimwear (part two)
8. The Lemon Twigs – 2 Or 3
9. Kevin Morby – Badlands
10. Brown Spirits – Bakelite Dashboard
11. Aldous Harding – Venus in the Zinnia
12. Angélique Kidjo – Big Heart
13. Hiss Golden Messenger – I’m People
14. Suss – Sunset IV
15. Hurray for the Riff Raff – Pa’Lante (Live)
Keith Forsey is often remembered for writing Don’t You (Forget About Me) for Simple Minds, and – ironically – for little else. That hit song from a memorable 1985 movie (The Breakfast Club) is by no means something you’d want others to forget, and yet there are many other blockbuster moments of note in a blistering career.
Survey the producer, songwriter and drummer’s many credits – running into several thousand contributions over half a century – and you will discover a Zelig-like figure who was present and often instrumental in the creation of assorted epoch-defining music. If his name is rarely mentioned, then you suspect he likes it that way.
You’ll not find interviews with him should you go searching on the internet.
Paul Weller may be something of a cult artist in the United States, but in his native UK and across Europe, he’s a well-deserved living legend. As a founding member of the Jam in the 1970s and the Style Council in the 1980s, he has taken listeners on a journey through punk, soul, jazz, folk, and whatever other styles he likes to try. Live settings are a great way to experience Weller’s music, usually because they put his electrifying on-stage presence on full display, allow him to cherry-pick some of the best songs from his long and varied career, and give him a chance to test out unique and surprising covers. Weller at the BBC, Vol. 2 accomplishes all of this in spades.
While Weller at the BBC was released in 2008 and covered the years 1990 to 2008…
Releasing as a 2CD set, this edition includes the original album, newly remastered from the original master tapes, alongside a bonus disc of rare, previously unreleased alternate versions and outtakes from their early recording sessions.
It sold poorly (around 11,000 copies) and the band never cut anything like it again, but Little Feat‘s eponymous debut isn’t just one of their finest records, it’s one of the great lost rock & roll albums. Even dedicated fans tend to overlook the album, largely because it’s the polar opposite of the subtly intricate, funky rhythm & roll that made their reputation during the mid-’70s. Little Feat is a raw, hard-driving, funny and affectionate celebration of American weirdness, equal parts garage rock, roadhouse blues…
…include a bonus disc with songs from the December 12, 1973 concert at Omni Coliseum in Atlanta.
From Dick’s Picks Volume 1 to Dave’s Picks Volume 58, Curtis Hixon Hall is front and center once again as we shed a little lovelight on the complete, unreleased show from December 18, 1973. On this one, you’ll find the band coastin’ off that Europe ’72 sound (“Tennessee Jed,” “Brown-Eyed Women,” a not-to-be-missed mix of “China>Rider”), testing the tempo of the newly debuted (12/12/73) pretty little “Peggy-O,” and morphing Wake of the Flood tracks (“Weather Report Suite,” “Row Jimmy,” and “Eyes of the World”) into live form. “Dark Star,”…
Dave Matthews & Tim Reynolds – Live Trax Vol. 73: Branscomb Memorial Auditorium, Lakeland, FL (2026)
Dave Matthews Band dug deep into their archives for Live Trax Vol. 73: 2/10/1997 Branscomb Memorial Auditorium, which features a previously uncirculated recording of a 1997 Dave Matthews and Tim Reynolds show.
Dave & Tim’s stop at Branscomb Memorial Auditorium in Lakeland, Florida came as part of a 25-show winter tour. The concert was the last missing piece from the tour as the only show that had never circulated.
While setlists didn’t change much from night to night that winter, there are a few songs on Live Trax Vol. 73 that weren’t played at the previous show (issued as Live Trax Vol. 24 in 2012). Matthews & Reynolds fit their first cover of Daniel Lanois’ “The Maker” into the setlist in Lakeland.
Treasury box-set contains six solo albums by Bill, recorded across a fifty-year span, beginning 1974. Each of the first six discs contains bonus material such as 7-inch and 12-inch single mixes, plus demo recordings, while the final disc features 12 new demo recordings of songs that Bill has written in that time, but never released – until now.
The first two discs contain the albums Monkey Grip (from 1974) and Stone Alone (1976), both originally issued on Rolling Stones Records, and made with a staggering line-up of musical friends including Lowell George, Dr John, Joe Walsh, Van Morrison, the Pointer Sisters, Danny Kortchmar, Dallas Taylor, Leon Russell, Bob Welch and Nicky Hopkins. The eponymous Bill Wyman album from 1981 was home to the Top 40 singles…
…these songs resonate as loudly as when they were first created” – MOJO
When they were young, members of Cabaret Voltaire used to walk up to strangers at bus stops in Sheffield and spray them with sounds from reel-to-reel tape recorders. They wanted to liven up everyday life in a Northern industrial town, and observe what would happened when people were jolted out of familiar habits. This pranksterism sticks in the memory, not just because it speaks to the DIY graft that’s part of Cabs’ origin story, but because spending hours splicing sounds onto tape and then blasting them out for a few seconds touches upon a question lurking over the live performance of electronic music as whole: if all the work takes place in the studio…
In 2012 he recorded several solo albums and began touring as a solo artist in Europe and the USA with his own band. Martin’s approach to live performances has seen him perform as an acoustic trio with Dan Crisp (vocals, guitar) and Alan Thomson (bass, guitar) and as an electric band with Terl Bryant also joining on drums, with both incarnations meeting with praise from both fans and critics.
This new album features a wonderful performance by Martin’s acoustic band recorded on 19 April 2025 at The Center For The Arts, Homer, New York and a marvellous set by his electric band recorded at the Woodstock Forever Festival in Germany in August 2024. Both performances feature Martin’s solo work and Jethro Tull classics.
Continuing the acclaimed series of UFO reissues, The Wild, The Willing & The Innocent returns in a stunning 2026 remastered deluxe edition.
Originally released in 1981, this pivotal album captures the band at a creative high point, blending soaring melodies, powerful performances, and Phil Mogg’s unmistakable voice.
Newly remastered from the original tape transfers, the album now sounds more dynamic and detailed than ever, reaffirming its place as one of UFO’s most accomplished works.
This deluxe edition also includes a brand-new mix of the previously unreleased Live at the Hammersmith Odeon, recorded on 29th January 1981, by Brian Kehew, offering an electrifying snapshot of UFO’s energy on stage.
Guy Clark’s debut, Old No. 1, did not sell many records upon its original release in 1975. However, over time the album has earned a reputation as a masterpiece that has inspired a zillion songwriters since. The list of notables influenced by Clark and this LP includes a host of prominent singer-songwriters, including Rodney Crowell, Steve Earle, Lyle Lovett, Nanci Griffith, and Vince Gill. They have all proudly paid tribute to Clark in song and story. Fifty years later, Truly Handmade Records, an independent record label and imprint established by Guy Clark LLC, has released Old No. 1: Revisited. It’s a track-by-track tribute to the original, featuring some of the best young(er) musicians working in the Americana and alternative country fields today, such as Margo Price,…
The Eagles’ 1975 studio album, One of These Nights, was a milestone album for the band, earning them their first GRAMMY® Award and becoming the first of four consecutive #1 albums. One Of These Nights (Deluxe Edition) featuring a new mix of the original album, an unreleased, 16-song 1975 concert at Anaheim Stadium.
Produced by Don Henley, the CD and vinyl editions include a new mix of the album by Rob Jacobs. Originally produced by Bill Szymczyk and recorded at Criteria Studios in Miami and the Record Plant in Los Angeles, One Of These Nights achieved quadruple Platinum certification and the single “Lyin’ Eyes” won the GRAMMY® Award for Best Pop Performance by a Duo or Group with Vocals.
The unreleased live recording captures…
Deluxe double LP reissue of The Head And The Heart’s debut album. Featuring the original album remastered on the first LP, plus seven bonus tracks on the second LP. The bonus tracks are a combination of previously unreleased demos and live tracks, plus one live track available for the first time physically, and one previously unreleased studio track. The Head and the Heart is the self-titled debut album from Seattle folk-rock band The Head and the Heart, originally self-released in 2010 before being picked up and re-issued by Sub Pop in 2011. Built around harmonious vocals, piano, violin, and folk-rock instrumentation, the album captures themes of connection, wanderlust, and introspection across tracks like “Lost in My Mind,” “Down in the Valley,” and “Rivers and Roads.”
Free Your Mind…And Your Ass Will Follow is the second album from funk innovators Funkadelic. Arriving in 1970 mere months after their trailblazing debut, the record saw the band honing their songcraft, while still allowing plenty of space for mind-bending exploratory jams. The album’s origin story famously involved a single marathon session on LSD. It marked the official introduction of legendary keyboardist Bernie Worrell, and would go on to chart at No. 92 on Billboard’s Pop chart.
Factoring George Clinton’s surprise at hearing the voice of Martha Reeves during a retrospective playback of the ten-minute title track, there’s reason to doubt the Parliament-Funkadelic leader’s memory in his claim that Free Your Mind…And Your Ass Will Follow was recorded in a day.
GarciaLive Volume 22: September 25th, 1971 captures almost every note played across the early and late shows at San Anselmo’s intimate Lion’s Share, a tiny Quonset hut on the edge of town. The performances were originally recorded to 1/4″ analog reels by Betty Cantor-Jackson and Bob Matthews.
Jerry Garcia’s partnership with Merl Saunders carved out a parallel musical life in small Bay Area clubs. Joined by rhythmic anchor John Kahn, Grateful Dead drummer Bill Kreutzmann, and Tom Fogerty on rhythm guitar, who recently departed from Creedence Clearwater Revival. This quintet specialized in power pockets and strong grooves, giving Garcia space to elaborate and extend his musical knowledge…
It was clear from the opening moments of Bruce Springsteen’s “Land of Hope and Dreams” concert that the Boss had a few things to say about President Donald Trump and the state of the nation. In a dramatic flash of patriotic red light, he strode onto the stage in his best proletariat preacher mode and addressed his flock.
“The mighty E Street Band is here tonight to call upon the righteous power of art, of music, of rock ’n’ roll in dangerous times,” he proclaimed during a tour stop at San Francisco’s Chase Center on Monday, April 13. “The America that I love — the America I have written about for 50 years that has been a beacon of hope and liberty around the world — is currently in the hands of a corrupt, incompetent, racist, reckless and…
nagoyaka na kaze / 和やかな風 – (quiet wind): a collection of forward-thinking electronic experiments sourced from central Japan – co-curated by Nagoya artist abentis for Facta & K-LONE’s Wisdom Teeth imprint. The project profiles a close-knit community of music makers operating in and around the Japanese city of Nagoya: one of the country’s most populous and industrial cities, but one all too often overlooked in terms of its cultural significance.
Curated in close collaboration with local scene organiser Yuya Abe – aka abentis – the record seeks to capture the creative energy of a community of artists making hard-to-define, future-facing electronic music away from the clamour of the bigger cities.